Old Master and Nineteenth-Century Drawings

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• HERMANN WEYER
  1596 – Coburg – ca. 1621
  
  A Miracle of San Francesco di Paola (recto); Figure Studies (verso)
  
  pen and black ink, brown wash, white heightening on light ocher prepared paper; 185 x 300 mm
  
  inscribed P. Pr in the lower left corner in brown ink in an eighteenth-century hand (rec-to); fragmentary inscription in German at the cut edge of the sheet ending … [s]ynod’ (verso)

• ALESSANDRO DI ANDREA CASOLANI
  1552 Mensano, Casole d’Elsa – Siena 1607
  
  Samson and Delilah
  
  red chalk with touches of black chalk; 153 x 220 mm

• workshop of GIULIO ROMANO
  1499 Rome – Mantua 1546
  
  Adoration of the Magi 1530
  
  pen and brown ink with wash and white heightening on prepared light-brown paper, squared in pencil and red chalk; tipped at left onto an eighteenth-century album sheet 270 x 345 mm (10 5/8 x 13 1/2 inches)
  
  annotated in pen and ink in the upper left corner of the verso of the sheet Bb / No 46, further inscribed above Polidoro, again above center Polidoro da Caravaggio, and at lower center Fran del Borgo

  PROVENANCE
  Jan Pietersz. Zoomer, Amsterdam (Lugt 1511)
  Sir Francis Ferrand Foljambe (1750–1814), Osberton Hall, Scofton near Worksop, Nottinghamshire;
  thence by descent

• FLEMISH, first half of the seventeenth century
  
  Allegories of Temperance and Prudence (after figures by RAPHAEL)
  
  pen and brown ink with wash and white heightening, laid down on an eighteenth-century mount; 268 x 210 mm (10 1/2 x 8 1/4 inches)
  
  The mount inscribed below by Richardson Rubens.
  
  PROVENANCE
  Jonathan Richardson, sr. (1665–1745), London (his drystamp Lugt 2184; on verso of mount in pen and ink his shelf marks P. 96./ Zg. 94./ LL. 16.) Sir Francis Ferrand Foljambe (1750–1814), Osberton Hall, Scofton near Worksop, Nottinghamshire; thence by descent

• FRANCESCO ALBANI
  1578 Bologna – Rome 1660
  
  Mars Seated on Clouds (Study for a Pendentive in the Loggia of the Palazzo Verospi in Rome) ca. 1611–12
  
  pen and brown ink on blue paper; 165 x 131 mm numbered 184 on the old mount

• JAMES BARRY
  1741 Cork – London 1806
  
  Drawing after Raphael 1766–1770
  
  pen and brown ink on thin laid paper, mounted on a thicker sheet; 274 x 212 mm (10 13/16 x 8 3/8 inches)
  
  annotated in pen and ink: James Barry, Rome: a study in the Ghigi Villa / Raphael Pinx.; added in a slightly darker ink: taken through the Glass / I.P.[inverted “v”]; another annotation in pencil, probably by the same hand, on the support sheet below: The Graces
  
  

  The drawing copies one of the lunettes showing Cupid and the Three Graces in Raphael’s Loggia of Psyche in the Villa Farnesina in Rome.

  The annotations below are in the hand of Francis Douce, an executor of Barry’s estate. The drawing must therefore have come from the posthumous estate sale; Douce evidently considered it important enough to annotate the work at least twice

  We know from Barry’s letters that when he was in Italy he used some type of mechanism to aid him in the copying of old-master compositions and in the delineation of landscapes. A comparison between the original Roman frescos and Barry’s drawing reveals, however, that he did not copy Raphael’s fresco directly but instead must have traced this composition from Marcantonio Raimondi’s engraving after the fresco (Bartsch 344). Indeed, the details in which the print deviates from the painting are all faithfully reproduced in the drawing here. Douce’s annotation “through the glass” must therefore refer to the manner in which Barry made the drawing: by putting the print on a sheet of glass, laying a thin sheet of paper on top of it, and then tracing the outlines as the glass was held against the light.

• ROME, ca. 1550–60
  
  Fortuna / Abundantia
  
  pen and brown ink with wash and extensive white heightening over pencil on light-brown prepared paper; 272 x 155 mm (10 3/4 x 6 1/8 inches)
  
  inscribed by Richardson on a cartellino pasted on the mount below Polidoro
  
  PROVENANCE
  Jonathan Richardson, Sr. (his dry-stamp Lugt 2184; on verso of mount his shelf marks in pen and ink N. 12. / E. 29. [further annotations crossed out] / b. 46. / Zl. 25. / Zi. 15. / Zf. 21. Sir Francis Ferrand Foljambe (1750–1814), Osberton Hall, Scofton near Worksop, Nottinghamshire; thence by descent

• BARON ANTOINE-JEAN GROS
  1771 Paris – Meudon 1835
  
  Ulysses Killing the Suitors of Penelope ca. 1798
  
  black chalk, pen and brown ink, brown and grey wash heightened with white; 157 x 219 mm (6 3/16 x 8 5/8 inches)

  Gros entered the studio of David as a pupil in 1785. He was a final competitor for the Prix de Rome in 1792 but did not win. He nevertheless set out to Italy early the following year. His main financial support came from portrait commissions. Due to the uprising against the French in Rome in 1793 he did not find it safe to go there and instead went to Genoa where he stayed with Girodet. In 1796 Gros was introduced to Josephine and later that year met Napoleon in Milan. The success of his painting depicting Bonaparte on the Bridge at Arcole, November 17, 1796 of 1801 (now at Versailles) established the artist’s reputation. He further held a position on Napoleon’s committee in charge of inspecting works in conquered cities in Italy and remove them to the Musée du Louvre. Gros could return to Paris only in 1800 but had been eager to move away from his portrait commissions and participate in the revival of painting in France in the wake of the Revolution, working on ideas for various grand history paintings, many of them never executed.

  It is therefore not surprising that there is no trace in the literature of a painting by Gros showing Ulysses Killing the Suitors of Penelope; it is also apparent that the opportunity to depict a highly dramatic composition must have drawn the artist to this subject. The present sheet is closely related to an oil sketch of this theme datable to circa 1798, which was formerly in the Seligman collection (see J. Richardson, The Collection of Germain Seligman, New York 1979, no. 29 with ill.) which in turn was probably intended as preparation for a larger painting. A stylistically comparable drawing by Gros is at Besançon, Musée des Beaux-Arts (A. Sérullaz, Le Néoclassicisme français, exh. cat., Grand Palais, Paris, 1975, no. 75).

• ANTONIO TEMPESTA
  1555 – Florence – 1630
  
  Abraham Rescuing Lot, with a Battle Raging Behind, and a Procession of Camels and the City Walls in the Distance
  
  pen, black and black-gray ink and gray wash; 114 x 157 mm
  
  inscribed 3a in black chalk at lower left corner

• ANTONIO TEMPESTA
  1555 – Florence – 1630
  
  Abraham, Melchisadek, and the King of Sodom
  
  pen, black and black-gray ink and gray wash; 113 x 152 mm mm
  
  inscribed 3 in black chalk at lower left corner

• GIOVANNI BATTISTA MAURO DELLA ROVERE, called IL FIAMMENGHINO
  ca. 1560/61 – Milan – 1627
  
  Christ Carrying the Cross with Saint Veronica ca. 1618
  
  pen and brown ink with brown wash and white heightening, squared for transfer, on blue paper; 233 x 260 mm (9 3/16 x 10 1/4 inches)
  
  

  PROVENANCE
  Thomas Le Claire Kunsthandel, catalogue 3: Handzeichnungen alter Meister 1500–1800, November/December 1985, no. 13
  private collection, Germany

  Giovanni Battista Mauro and his younger brother of Giovanni (1575–1640) were both known as “I Fiammenghini” due to their Flemish ancestry. They were leading figures in early seventeenth-century Lombard art. Among their earliest commissions was a fresco cycle on the life of Saint Carlo Borromeo for the Duomo in Milan which they executed jointly between 1602 and 1604. Giovanni Battista continued to work mainly on the decoration of churches and monasteries in Milan at its environs.

  A comparison with a dated drawing of 1618 formerly in the Ratjen collection suggest a similar date for this highly finished modello (Stiftung Ratjen: Italienische Zeichnungen des 16.–18. Jahrhunderts, exhibition catalogue, Munich/Berlin/Hamburg/Düsseldorf/Stuttgart, 1977–78, no. 18).

• GEORG LUDWIG VOGEL
  1788 Zürich 1879
  
  View on the town of Fribourg Around 1820/1821.
  
  Watercolor over black pen. 430 x 710 mm.

• MICHAEL WENTZEL
  1792 Großschönau near Zittau – Dresden 1866
  
  La Scuola di Virgilio 1829
  
  watercolor over pen and ink with traces of pencil on laid paper; 305 x 473 mm (12 x 18 5/8 inches)
  
  annotated in pencil at upper right La scola de Virgil 22 Junij 29.; in pen and ink nello Camerolle
  
  

  WATERMARK
  CANSON 1826

  PROVENANCE
  estate of the artist (according to a pencil inscription on verso)
  Dr. Franz Ulrich Apelt, Zittau
  thence by descent

  The Scuola di Virgilio is a rock formation near Posillippo. The English poet Percy Bysshe Shelley (1792–1822) had visited it a decade before Wentzel on a boat trip in the Bay of Naples. In a letter of December 1818 the poet writes: “We passed Posillippo and came first to the eastern point of the bay of Pozzuoli, which is within the great bay of Naples, and which again incloses [sic] that of Baiae. Here are lofty rocks and craggy islets, with arches and portals of precipice standing in the sea, and enormous caverns, which echoed faintly with the murmur of the languid tide. This is called La Scuola di Virgilio.” Wentzel’s pristinely preserved watercolor captures the dark-blue hues of the sea and the bright ocher of the rocks in Technicolor brilliance, evoking the warmth of an early summer day with the view of Mount Vesuvius in the far distance. As Shelley further observes in the same letter: “The colours of the water and the air breathe over all things here the radiance of their own beauty.”

  It is worth pointing out that Wentzel used some of the finest watercolor paper to execute this sheet. The Canson Papermill traces its history back to the sixteenth century. By 1801 it had joined with Montgolfier, another prestigious French mill, and Canson & Montgolfier continued to produce renowned papers that were especially sought after by watercolorists.

• MAX HAUSCHILD
  1810 Dresden – Naples 1895
  
  Village Scene in Lacco Ameno on Ischia 1857
  
  pencil on wove paper; 233 x 330 mm (9 3/16 x 13 inches)
  
  annotated, signed, and dated Lacco auf Ischia 1857 Sept.

  PROVENANCE (according to an annotation on the verso)
  Count von Bredow, Potsdam
  Karl & Faber, Munich, sale 66, November 3–4, 1958, lot 283
  Kurt Hammelsbeck, Cologne

  Hauschild began his training as an architect in 1826 at the Dresden Academy. He remained an assistant teacher there from 1838 to 1852. He visited Rome three times: in 1833, 1841, and 1846. After quitting his teaching post he went back and forth between Dresden and Rome, ultimately settling permanently in Naples. A regular participant at exhibitions in Rome, Hauschild specialized in architectural views, focusing on buildings from the Gothic and Romanesque as well as the early Christian periods.

  Our drawing depicts a small square in Lacco Ameno on the northern coast of Ischia with a view on the Monte Epomeno in the distance. One may safely say that all the expectations of the northern viewer of such a scene are fulfilled here: in the shade to the left, women come together to do their needlework; a mendicant monk enters the scene in the foreground; and the right half of the composition is filled with figures eating grapes and drinking wine—appropriate for the month of September when this drawing was executed. Not surprisingly, given Hauschild’s architectural training, all the details of the modest rural architecture are carefully rendered, with even the cupola of a church visible beyond the pergola to the left. The drawing convincingly evokes the afternoon light of a late-summer day in southern Italy.

• JOHANN JAKOB SCHALCH
  1723 Schaffhausen 1789
  
  View of a Village seen through a Leafy Arch in an Open Landscape
  
  Black and gray brush. Signed: J J Schalch/Schalch.
  
  240 x 400 mm

• JOHANN CONRAD STEINER
  Winterthur 1757 – 1818 Tägerwilen
  
  Wooded ideal Landscape with Shepherd
  
  Castle on a Rock and a Mountain in the Background. Sepia watercolor. Trimmed and mounted.
  
  518 x 419 mm

• SALOMON GESSNER
  1730 Zürich 1788
  
  Wooded landscape with a Shepherd sitting at the Stream - Edge of a Wood with a Stream
  
  Each signed and dated "S. Gessner. f. 1766". Black pen, grey wash and heightened in white. Each around 233 x 201 mm

• SALOMON GESSNER
  1730 Zürich 1788
  
  Wooded landscape with a Shepherd sitting at the Stream - Edge of a Wood with a Stream
  
  Each sign. and dated "S. Gessner. f. 1766“. Black pen, grey wash and heightened in white. Each around 233 x 201 mm.

• CARL-WILHELM MÜLLER
  1839 – Dresden – 1904
  
  Autumn Landscape in the Erzgebirge 1868
  
  watercolor over pencil on wove paper; 200 x 275 mm (7 7/8 x 10 7/8 inches)
  
  signed in pen and ink with monogram and annotated at lower left Kupferberg 1. Oktober. 68

  Unlike many other artists who would mine their Italian sketches in landscape paintings for many years, Müller painted only very few Italian motifs after his return to Dresden in December 1866. Still following his teacher’s blandishments to draw from nature, Müller concentrated instead on views of the landscapes of his native Saxony and Bohemia.

  This charming view through a loose row of red-leafed trees in autumn was made near Kupferberg (Měděnec) overlooking the Eger Graben (Oherský příkop) in the Erzgebirge (Krušné hory) in Bohemia, today part of the Czech Republic.

• ABRAHAM-LOUIS-RODOLPHE DURCROS
  Yverdon 1748 - 1810 Lausanne
  
  Ruin near Lausanne
  
  Watercolour. 610 x 520 mm.

• ALEXANDRE CALAME
  Vevey 1810-1864 Menton
  
  Rosenlaui with Well- and Wetterhorn
  
  Watercolor. Signed and dated A Calame 1850. 335 x 456 mm.

• BALTHASAR ANTON DUNKER
  Saal b. Stralsund 1746-1807 Bern
  
  Riverlandscape with an Angler
  
  In the background a church. Pen and watercolor. Sign. and dat. lower left "Dunker.“ 293 x 238 mm.

• JOHANN CONRAD GESSNER
  1764 Zürich 1826
  
  Hunter with Three Dogs in the Woods in the Valley of the River Sihl
  
  Gouache. Sign. “Conrad Gessner f 1792”. Verso on label designated: “Shilwald 5 Louis...”. 442 x 520 mm.

• BARTHELEMY MENN
  1815 Genf 1893
  
  Group of trees on a hill
  
  Black pen and watercolour. 445 x 300 mm.

• JOHANN HEINRICH MEYER
  Zürich1760 - 1832 Jena
  
  "Auf dem Weg nach Pfeffers gegen das Kloster"
  
  Pen in black ink and chalk, watercolor. 1806. Bottom right signed and dated "Meyer 1806". 424 x 573 mm.

• ROBERT ZÜND
  1827 Luzern 1909
  
  "Wilderswil“
  
  Watercolor. Signed and dated "R. Zünd 1853“. 524 x 725 mm.

• JEAN-ANTOINE LINCK
  1766 Genf 1843
  
  Study of Clouds
  
  White chalk on blue prepared paper.
  
  180 x 223 mm.

• JOHANN CHRISTIAN KLENGEL
  1741 Kesselsdorf near Dresden – Dresden 1824
  
  Young Girl in an Interior Standing by a Cradle ca. 1785
  
  watercolor with pen and black ink over traces of pencil on laid paper; 195 x 143 mm (7 5/8 x 5 5/8 inches)
  
  signed in pen and ink at lower right Klengel del.

  PROVENANCE
  Heino Maedebach, Coburg

  Johann Christian Klengel was supported from early in his career by members of the academy in Dresden. In 1768 he came to live in the house of Christian Wilhelm Ernst Dietrich, called Dietricy (1712–1774), one of the academy’s professors, who taught him landscape painting and etching. Klengel himself became a member of the Dresden Academy in 1777. He travelled to Italy in 1790–92. He then returned to Dresden and was appointed associate professor for landscape painting in 1800, receiving a full professorship in 1816. Philipp Otto Runge (1777–1810) called him “one of our greatest landscape painters.”

  This charming portrait of a young girl belongs to a group of family scenes Klengel made in the 1780s (cf. Fröhlich Z52 and 53). It is most closely related to a watercolor showing the artist’s wife seated in an interior (Z26).

• BARON JOSEPH DURCREUX
  Nancy 1735 – 1802 Paris
  
  Portrait of a Gentleman with a fur Collar, turned to the right with a Letter in his Hand
  
  Around 1792. Black charcoal and buffer, black, white and brown chalk on beige-brownish paper. Wm. Horn, ca. 1780. 440 x 360 mm

• FRANZ XAVER WINTERHALTER
  1805 Menzenschwand in the Black Forest – Frankfurt/Main 1873
  
  Portrait of Grand Duchess Sophie von Baden 1828
  
  pencil and grey wash on wove paper; 216 x 160 mm (8 1/2 x 6 3/8 inches)
  
  signed, dated, and annotated Winterhalter fecit Carlsruhe 1828

  Winterhalter received his first traning as a draughtsman and lithographer in the workshop of Karl Ludwig Schüler in Freiburg before going to Munich in 1823 at the age of eighteen. In 1825, supported by a stipend granted by Ludwig I, Grand Duke of Baden he studied at the academy in Munich first with Peter Cornelius and then with the fashionable portraitist Joseph Stieler who became his mentor.

  In 1828 he became the drawing master to Sophie Margravine, later Grand Duchess of Baden in Karlsruhe. Our drawing was created in Karlsruhe the same year, depicting his new patroness.

• CARL BARTH
  1787 Eisfeld – Kassel 1853
  
  Brustbild einer jungen Frau – Half-Length Portrait of a Young Woman 1823
  
  pencil with accent in pen and black ink on thin wove paper; 166 x 114 mm (6 9/16 x 4 1/2 inches)
  
  monogramed and dated in pen and ink at lower right CB 1823

• JULIUS HÜBNER
  1806 Oels (Silesia) – Loschwitz 1882
  
  Der alte Runkel – Old Runkel 1832
  
  pencil on thin wove paper; 246 x 203 mm (9 3/4 x 8 inches)
  
  monogramed and dated at right JH d. 27.t Juni 1832; titled below der alte Runkel

• “S. BUFFA” (STANISLAS BUFFARDIN ?)
  1805 Avignon – Paris 1860
  
  Portrait of a Man (after ALBERT KORNECK) 1835
  
  black chalk and ink with white heightening on brown laid paper; 236 x 185 mm (9 5/16 x 7 1/4 inches) signed in pencil at right S. Buffa / fct. Dcmbr 35
  
  

• GUSTAV STIER
  1807 – Berlin – 1880
  
  Portrait of a Man 1830
  
  pen and ink, wash, and chalk with white heightening on brown wove paper; 227 x 197 mm (8 15/16 x 7 ¾ inches)
  
  signed in pencil at lower right Gustav Stier fc. / Dez. 1830

  PROVENANCE
  Carl Heumann, Chemnitz (Lugt 2481a)
  Stuttgarter Kunstkabinett Noman Robert Ketterer, sale 29, November 29, 1957, lot 352 (as by “Gustav Wilhelm Stier”)
  Sammlung Renker (Papierfabrik Zerkall Renker & Söhne), Düren

  When the drawing was offered as part of the Heumann collection in 1957 the catalogue entry describes it as by “Gustav Wilhelm Stier” and gives as dates for the artist those of the architect Friedrich Wilhelm Ludwig Stier. The latter was a cousin of Gustav Stier who was also an architect who worked in the studio of Schinkel from the late 1820s until 1837. He is not otherwise known as a portraitist but our drawing is explicitly mentioned in his entry in Thieme/Becker.

• JAMES ENSOR
  1860 – Ostende – 1949
  
  The Artist’s Sister Mitche Seated at a Table ca. 1885–86
  
  black crayon and pen and ink on a wove-paper notebook sheet; 110 x 172 mm (4 5/16 x 6 3/4 inches)
  
  

• PAULA MODERSOHN-BECKER
  1876 Dresden – Worpswede 1907
  
  Landscape ca. 1905/06
  
  charcoal on blue paper
  
  annotated at lower right f. P.M.B. / T. Modersohn

  PROVENANCE
  Günter Busch, Bremen

  The drawing is one of the “stark late Worpswede landscape drawings.” Anne Röver-Kann notes about them: “The path to those convincingly simple compositions is hardly imaginable without the early Italian paintings that Paula Modersohn-Becker had studied in Paris and Berlin” (“‘Die alten Meister bringen auch ein tüchtig Stück weiter.’ – Zeichnen im Pariser Lovure – Wege zum eigenen Bild II,” in: Anne Buschhoff/Wulf Herzogenrath (eds.), Paula Modersohn-Becker und die Kunst in Paris um 1900. Von Cezanne bis Picasso, exhibition catalogue, Kunsthalle Bremen, Munich 2007, p. 235).

  The authenticity of the drawings has been confirmed by the daughter of the artist Mathilde Modersohn (known as “Till”; 1907–1998).